After his two attempts at the international glory with English-language movies “The Sense of an Ending” (2014) and “Our Souls at Night” (2017), Ritesh Batra is back to the territory he is most familiar with, the heart-warming Indian romance he created with his feature debut “The Lunchbox” (2013) which became a huge festival hit. His newest film, “Photograph” (2019) walks pretty much the same ground, content-, execution-, and festival distribution-wise. After its world premiere at Sundance last year and European premiere at Berlinale, it went on an extended, seemingly never-ending festival tour, parallel with the wide cinema release. Better late than never, could be said for its screening at this year’s online edition of Zagreb Film Festival and the review here.
Our man Rafi (Nawazuddin Siddiqui) is a forty-something street photographer whose pitch to the tourists at The Gateway of India is that the photograph is an all-senses memory experience: once they see the photograph,...
Our man Rafi (Nawazuddin Siddiqui) is a forty-something street photographer whose pitch to the tourists at The Gateway of India is that the photograph is an all-senses memory experience: once they see the photograph,...
- 11/18/2020
- by Marko Stojiljković
- AsianMoviePulse
Granted, it may be fair to say that The Sense of an Ending is probably not the type of movie that most Lrm readers would actively seek out, being a pretty serious British drama based on the prize-winning 2011 novel by Julian Barnes.
It stars Oscar winner Jim Broadbent as photographer Tony Webster, who reflects back on his college days in the ‘60s when someone he knew as a child passes away, leaving him a diary that may explain why their friendship fell apart over a pretty woman who came between them named Veronica (played by Scottish actress Freya Mavor from Skins in the past and Oscar nominee Charlotte Rampling in the present).
Sure, The Sense of an Ending may be more of a movie you go to see with your parents, or even grandparents, but what makes the film interesting to film lovers is that it’s the first English...
It stars Oscar winner Jim Broadbent as photographer Tony Webster, who reflects back on his college days in the ‘60s when someone he knew as a child passes away, leaving him a diary that may explain why their friendship fell apart over a pretty woman who came between them named Veronica (played by Scottish actress Freya Mavor from Skins in the past and Oscar nominee Charlotte Rampling in the present).
Sure, The Sense of an Ending may be more of a movie you go to see with your parents, or even grandparents, but what makes the film interesting to film lovers is that it’s the first English...
- 3/9/2017
- by Edward Douglas
- LRMonline.com
After working with Lars von Trier, Peter Weir, Joss Whedon, Ron Howard and many more directors over the last few decades of his career, Paul Bettany debuted his first directorial effort, from his own script, at last year’s Toronto International Film Festival. Shelter, starring Jennifer Connelly and Anthony Mackie, will now get a release next month and the first trailer has landed. The story follows our leads who fall in love while living homeless on the streets of New York.
While we didn’t get a chance to catch it at Tiff, Variety said, “While Bettany says he was inspired by gritty ’70s New York dramas, Shelter is quite different from the likes of The Panic in Needle Park and the like, which were less catch-all in terms of social issues and more straightforward in presentation. Instead, the tetherless uncertainties of homelessness are evoked to sometimes almost dreamlike effect...
While we didn’t get a chance to catch it at Tiff, Variety said, “While Bettany says he was inspired by gritty ’70s New York dramas, Shelter is quite different from the likes of The Panic in Needle Park and the like, which were less catch-all in terms of social issues and more straightforward in presentation. Instead, the tetherless uncertainties of homelessness are evoked to sometimes almost dreamlike effect...
- 10/6/2015
- by Leonard Pearce
- The Film Stage
Nothing Human Loves Forever: Cassavetes’ Feature Debut Gloriously Vintage
Xan Cassavetes joins the family directorial legacy with her feature debut, Kiss of the Damned, a deliciously vintage throwback to the erotic horror output of the Hammer studio heyday. Previously, this Cassavetes was responsible for a 2004 documentary Z Channel: A Magnificent Obsession, and her fiction debut seems considerably removed both from her own work and that of the familial output. A visual feast with a killer sound design, she manages to invoke Stephanie Rothman and Jean Rollin, where naughty immortal creatures from the dark side explore a bloodlust as inextinguishable as their sexual desires.
Djuna (Josephine de La Baume), a beautiful, lovelorn vampire residing in a remote mansion in the Connecticut countryside spends her nights hunting animals in the surrounding woods and watching vintage cinema. The residence belongs to Xenia (Anna Mougalalis), an actress and older, wiser vampire, but the estate...
Xan Cassavetes joins the family directorial legacy with her feature debut, Kiss of the Damned, a deliciously vintage throwback to the erotic horror output of the Hammer studio heyday. Previously, this Cassavetes was responsible for a 2004 documentary Z Channel: A Magnificent Obsession, and her fiction debut seems considerably removed both from her own work and that of the familial output. A visual feast with a killer sound design, she manages to invoke Stephanie Rothman and Jean Rollin, where naughty immortal creatures from the dark side explore a bloodlust as inextinguishable as their sexual desires.
Djuna (Josephine de La Baume), a beautiful, lovelorn vampire residing in a remote mansion in the Connecticut countryside spends her nights hunting animals in the surrounding woods and watching vintage cinema. The residence belongs to Xenia (Anna Mougalalis), an actress and older, wiser vampire, but the estate...
- 5/1/2013
- by Nicholas Bell
- IONCINEMA.com
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